Symphony no. 1 ; Tragic overture ; Academic festival overture by Gustav Mahler(
)296
editions published
between
1961
and
2016
in
6
languages
and held by
5,852 WorldCat member
libraries
worldwide
Written when the composer was only in his late twenties, Mahler's first symphony is a study in optimism. 'In full sail' (his
original title for the second movement) could be a motto for the whole work. In this vast symphony, we hear his love of nature
and beauty, Mahler's childhood memories, fragments of distant military music, birdsong and even Yiddish folk tunes as they
blend together into a paean to life and hope

Symphony no. 2 in C minor : "Resurrection" by Gustav Mahler(
Recording
)401
editions published
between
1951
and
2017
in
9
languages
and held by
5,627 WorldCat member
libraries
worldwide
Texts of the vocal portions: Urlicht, from Des Knaben Wunderhorn; Auferstehung by Klopstock

Symphony no. 8 by Gustav Mahler(
Recording
)272
editions published
between
1954
and
2017
in
9
languages
and held by
4,341 WorldCat member
libraries
worldwide
The first part of Mahler's 8th symphony is built around the 4th century Latin hymn Veni, Creator Spiritus (come, spirit of
creation). The second part retells the final episode of Goethe's Faust in which the title character finds salvation. This
recording also includes the Adagio from Mahler's 10th symphony and is the final installment of the San Francisco Symphony's
Mahler cycle

Symphony no. 4 in G major by Gustav Mahler(
Recording
)334
editions published
between
1925
and
2017
in
6
languages
and held by
4,169 WorldCat member
libraries
worldwide
POPP, Lucia (soprano). LONDON PHILHARMONIC ORCHESTRA. TENNSTEDT, Klaus (conductor)

Symphony no. 2 : "Resurrection" by Gustav Mahler(
)234
editions published
between
1963
and
2016
in
6
languages
and held by
4,146 WorldCat member
libraries
worldwide
Recorded live at London's Southbank Centre's Royal Festival Hall in September 2009, Mahler's Second Symphony is a compelling
start to Jurowski's documentation of the great composer. The conductor's approach fully reveals the dynamic extremes in Mahler,
emphasizing Jurowski's sensitivity and control. The London Philharmonic Orchestra has a long heritage with Mahler's symphonies
cemented in a mid-European tradition

Symphony no. 3 by Gustav Mahler(
)247
editions published
between
1966
and
2017
in
8
languages
and held by
3,943 WorldCat member
libraries
worldwide
For the latest highly anticipated release in the Royal Concertgebouw Orchestra's Mahler symphony cycle under the direction
of its chief conductor Mariss Jansons, the orchestra now turns its attention to the Third Symphony. Like no other, Jansons
possesses the ability to integrate all this beautiful detailing into the virtually infinite overarching climaxes that can
make listening to Mahler's symphonies such an exciting experience

Symphony no. 10 by Gustav Mahler(
)199
editions published
between
1960
and
2016
in
7
languages
and held by
3,402 WorldCat member
libraries
worldwide
"Using the composer's own sketches, and a thorough knowledge of his orchestral style, Remo Mazetti [sic], Jr.'s reconstruction
of Mahler's 10th Symphony, in its world premiere recording, gives us a vision of how this extraordinary work might sound if
Mahler had lived to complete it."--Container insert

Symphony no. 5 in C sharp minor by Gustav Mahler(
)262
editions published
between
1947
and
2017
in
10
languages
and held by
3,171 WorldCat member
libraries
worldwide
Sinfonie Nr. 5 cis-Moll

Gustav Mahler : memories and letters by Alma Mahler(
Book
)39
editions published
between
1940
and
1990
in
3
languages
and held by
834 WorldCat member
libraries
worldwide
Publisher Marketing: GUSTAV MAHLER MEMORIES AND LETTERS MAHLER AS A CONDUCTOR 1910 by Alma Mahler PREFACE I WROTE this book
many years ago, and my only reason for doing so was because no one knew Gustav Mahler so well as I and because I did not want
the experiences we shared and the expressions of his thought to be crowded out of my own memory by the pressure and hurry
of life. It was not originally my intention to have the book published during my lifetime. But now the whole of Europe has
been rocked to its foundations and nothing stands where it did. Rodins bust of Mahler, which I presented to the Vienna Operahouse
and which was unveiled by the last President of Austria, has now been removed from its pedestal. The wide street in Vienna
named after Gustav Mahler has been renamed Meistersinger Street. The large sum of money subscribed throughout the world for
a Gustav Mahler monument has been appropriated without ceremony to one of the usual welfare funds of annexed Austria. I therefore
have no scruple in saying openly what I know from experience of persons who live their lives and play their parts in the Third
Reich. The doors have been slammed. And not from one side only. All that I say of Richard Strauss is taken from the daily
entries in my diary. It should not be forgotten that Richard Strauss, the greatest master of contemporary music in the first
defcade of this century, was Gustav Mahlers only rival. Only those who were there at the time, and able to appreciate it,
know what Mahler did for Vienna during the glorious years of his reign there. Today Germany is deprived of his music, and
the memory of his life and compositions is carefully eflaced. In other countries the great conductors, Willem Mengdberg, Bruno
Walter and Otto Klemperer exert themselves on his behalf, and the best of the young conductors follow their example. They
keep the torch alight and hand it on, until the day when the doors of his own country are thrown open again and his work is
joyfully welcomed there once more